by Steve Habrat
In the 1950s, moviegoers looking for a terrifying thrill were treated to some real flimsy basement efforts. There were science fiction films made with almost no money whatsoever, monster movies that featured atomic creatures with visible zippers up their side stalking a shrieking teenage girl, and then there were Ed Wood horror movies, which occupy a league of their own in the land of cringe-worthy B-movies. Wood is largely remembered for being one of the most incompetent directors of all time and the man who gave the world Plan 9 from Outer Space, a film that is widely considered the worst film ever made. Looking back on Plan 9 from Outer Space, we can now smile and acknowledge that this was a film made by a man who was determined to show the world his vision, even if they laughed it right off the screen. While casual horror fans may know Wood simply for Plan 9 from Outer Space, if you dig deeper into his catalogue of work, you will find another hidden gem in the form of 1955’s Bride of the Monster, an equally goofy, flawed, and downright hilarious attempt at being scary. Featuring lots of gothic castles, humid swamps, lightning flashes, giant rubber squids, and Bela Lugosi’s final speaking performance, Bride of the Monster manages to overcome the endless amount of flubs that comprise it and becomes a true labor of love that you just can’t resist, even if you desperately want to.
Bride of the Monster begins with two men, Jake (played by John Warren) and Mac (played by Bud Osborne), out in Lake Marsh when a nasty storm hits. Desperate to find shelter, the two men make their way to an old abandoned mansion that is rumored to house a monster. As they get closer to the mansion, Jake and Mac realize that the mansion may not be abandoned at all. As the men attempt to enter the mansion, they come face to face with Dr. Eric Vornoff (played by Bela Lugosi), who tells them to leave the property at once. When they protest, Dr. Vornoff’s mute assistant, Lobo (played by Tor Johnson), shows up and scares them away. In all the confusion, Mac falls into Lake Marsh and is attacked by a giant octopus and Jake is captured by Lobo and taken back to the old mansion where Dr. Vornoff begins performing a grotesque experiment on the terrified man. A few days later, police captain Robbins (played by Harvey B. Dunn) meets with Lt. Dick Craig (played by Tony McCoy) about the growing number of disappears in the swamp. Craig and Robbins decide to meet with Professor Strowski (played by George Becwar), who speaks of the Loch Ness Monster and claims to want to help with the situation. Meanwhile, feisty newspaper reporter Janet Lawton (played by Loretta King) grows tired of the slow response of the police and decides that she is going to do a little investigating of her own. It doesn’t take long for her to bump into Dr. Vornoff and Lobo, who slowly reveal their plan for world domination.
In true 50s fashion, Bride of the Monster is brimming with atomic paranoia, a staple of most horror and science fiction films of that period. Wood fills his picture with talk of an army of radioactive supermen, atomic bombs affecting the weather, and adds some out-of-place stock footage of mushroom clouds rolling into the atmosphere. One of these mushroom clouds can be found near the end, when one character shoots one of Vornoff’s attacking creatures. Conveniently, none of the characters are turned to ash even though they are extremely close to the blast. Wood clumsily attempts to send chills by using the fears of the day, but where he really excels is in the atmosphere, especially around Vornoff’s mansion. Sadly, he doesn’t seem to realize that he has outstanding stuff. The exterior shots outside the home are eerie and there are a few moments out in the swamp that show promise, but you have to wonder if the atrocious camera work wasn’t inadvertently lending a hand in creating a moody landscape for Wood’s mayhem. Though it’s hard to tell, the looming mansion appears to have a gothic touch and the looping lightning strikes call to mind Universal’s early films. Even his giant octopus is chilling in small doses, but naturally, Wood overdoes it and holds the shots for way too long, revealing the fact that it is just a giant rubber prop.
Surprisingly, Bride of the Monster features some above average performances, a shocker considering that this is Ed Wood we’re talking about. The standout is Bela Lugosi, who really lays his Lugosi-ness on thick here as Dr. Eric Vornoff. In his last starring role before his death, Lugosi whips out all his old Dracula tricks and puts them on full blast. He contorts his fingers into hypnotic claws and he bulges his eyes for Wood in extreme close-ups. He savors every single cheesy line of dialogue that Wood hands him and in one of the film’s shining moments, appears to almost forget the name of his character. Tor Johnson is a perfect fit for the lumber beefcake Lobo, the mute muscle that brings Vornoff his test subjects. This is a far better role for the Swedish wrestler than the police inspector one that he was given in Plan 9 from Outer Space. McCoy seems like the routine good old boy as Craig, an average guy out to protect his ladylove from the comic book evil that lurks out in the swamp. Early on, King is a ball of energy as the determined newspaper reporter Janet, but by the end, she is stuck on an operating table and struggling to look scared. Dunn largely remains behind a desk with a bird on his shoulder as the dry police captain and Becwar is forgettable as the suspicious Professor Strowski, who has a plan all his own.
Just like Plan 9 from Outer Space, Bride of the Monster is chock full of hilarious one-liners that are meant to be taken seriously and mistakes that you just can’t turn a blind eye to. The film is flatly shot, a stationary camera positioned to pick up the entire set as the actors fumble around in poor lightning. The sets that Wood has here are infinitely more convincing than anything you will see in Plan 9 from Outer Space (absolutely NOTHING beats that airplane cockpit and the cardboard graveyard in Plan 9 from Outer Space), but they are by no means perfect. It is also clear that Wood was settling on the first take of each scene, as characters stumble through certain lines of dialogue and at times, almost seem to be chuckling to themselves over the poor writing. One could almost fill a book with the amount of clunky lines of dialogue that the characters fire off (“There is always something suspicious going on in a swamp!”). But it really boils down to the amount of passion that Wood puts into his vision. He is pouring his blood, sweat, and tears into the project and simply relishing the fact that he has a camera in his hand. Overall, Bride of the Monster never hits the lows that Plan 9 from Outer Space does (I say that in the most lovingly way possible), but this is still an amateurish and confused effort from a man who simply wasn’t born to make movies. Yet it is ultimately Wood’s belief in his own imagination, his off-screen enthusiasm, and Lugosi’s final bow that makes Bride of the Monster truly something special and permits it to be a seriously entertaining hour and ten minute ride.
Bride of the Monster is available on DVD.
by Steve Habrat
A year after Toho’s thunderous Godzilla took the world by storm, the Japanese production company quickly got to work on a follow up film to capitalize on the success of the first film. Director Motoyoshi Oda’s 1955 sequel Godzilla Raids Again certainly isn’t interested in capturing the guilt and sorrow of a nation still reeling from the devastation of World War II and the detonation of the atomic bomb, but this “kaiju” film is one that is certainly determined to deliver a whole bunch of smashing and clashing. And deliver it does. Godzilla Raids Again is the first film in the Godzilla series to pit the legendary radioactive beast against another roaring adversary, something that would become wildly popular in Toho’s later work. While it is never as eerie as the first film and it doesn’t feature that sulking human soul, Godzilla Raids Again does succeed as a breathless action extravaganza, even if it does seem like Toho threw it together in a frenzied rush. The destruction doesn’t pack the authentic punch that it did the first time around, and the miniature destruction sequences seem drawn out to pad the runtime rather than send shivers down the spine of the drive-in audience, but boy, this sucker is a giddy rush. Let the battle begin!
Godzilla Raids Again introduces us to two pilots, Shoichi Tsukioka (played by Hiroshi Koizumi) and Koji Kobayashi (played by Minoru Chiaki), who are hunting schools of fish for a tuna cannery in Osaka. Kobayashi’s plane malfunctions, which forces him to make an emergency landing on Iwato Island, a jagged and uninhabited cluster of volcanic rocks. Tsukioka tracks down Kobayashi and finds him among the rocks, but the men make another horrific discovery. It turns out that the island is home to Godzilla, who is currently fighting with another bizarre creature. As the two creatures trade blows, they both fall into the water and disappear. Tsukioka and Kobayashi make their way back to Osaka and report what they saw to the authorities, who conclude the this new Godzilla is a second member of the same species brought back by the same hydrogen bomb tests that awoke the original Godzilla. As for the other monster, the authorities believe that it is Anguirus, a creature that has an intense rivalry with Godzilla. As the creatures bring their grudge closer to the shores of Osaka, the government orders a blackout of the city under the belief that the monsters hate light because it reminds them of the hydrogen bomb. Since neither of the monsters can be killed, the government uses flares to draw them away from the shore, but after a freak accident causes a fire, the two monsters bring their battle to the streets of Osaka.
Ishiro Honda’s original Godzilla was a film that was packed plenty of splintered spectacle to marvel at, but the film had a heavy human presence and a meditative sorrow that forced the radioactive destruction to play out in the background. Honda took his time to work up to these spellbinding moments and he forced us to really identify with the terrified Japanese citizens who were convinced that they brought this horror on themselves. Godzilla Raids Again doesn’t take that same subtle approach, as the film launches head first into destruction and never looks back. It is still implied that Godzilla is a walking A-bomb, but his pounding footsteps never remind us of bombs being dropped from above. The only true form of suspense that we get in Godzilla Raids Again is the sequence in which Godzilla wanders towards the Osaka coast as flares glide over his head. It truly is a magnificent moment that brought the original film to mind. Outside of this, Oda can’t wait to have his beasts engage in their urban clash and reduce buildings to ruble. While the extended battle is zany fun, the annihilation never really makes the hair on your arm stand up and it’s not even half convincing, as it is painfully obvious that these are just two actors swatting at each other in rubber suits.
While the black out brawl in Osaka is quite a bit of fun, Godzilla Raids Again looses that fun spirit during the extended final battle that finds a stationary Godzilla battling jets that zoom over his head. This is the moment where our two fine but forgettable heroes get to do their he-man thing and sock it to the rampaging abomination. The climax is thick with an icy and vaguely apocalyptic atmosphere that certainly does get you to pay attention, but after a while, it just gets repetitive as the same hills blow up, the same rocks keep tumbling down, the same planes keep getting knocked out of the sky, and the same soldiers keep yelling the same orders, all while Godzilla just stands there and does absolutely nothing to get out of the line of fire. Why isn’t he trying to get away? Why doesn’t he charge at his foes? And do they really think that their approach to defeating him will really work? The entire climax feels like the filmmakers weren’t exactly sure how to bring this monster mash to a close, especially since their main grudge match plotline gets clipped way too early.
As far as our two main performers go, Koizumi is your typical action hero who woos a pretty girl and goes toe-to-toe with the roaring beast. He is likable enough but nothing really stands out about him, which is a shame when you think back to the complex heroes that we had in the original Godzilla. Chiaki fares better as the lovesick Kobayashi, a pudgy goofball who seems to be always coming in second place with the ladies. Together, the two men have fine chemistry and we really buy their friendship, but the film clearly isn’t framing itself around them. The only returning cast member from the original film is Takashi Shimura as Dr. Kyohei Yamane, who shows up to identify Godzilla and show a montage of Godzilla laying waste to Tokyo. Overall, while Oda’s vision may not be as clever, haunting, and poetic as Honda’s 1954 original, Godzilla Raids Again still packs hints of the atomic metaphors that loomed over the apocalyptic original. This follow up may peak a bit too early and suffer from a monotonous final confrontation, but Godzilla Raids Again still stands as a satisfying slice of creature feature drive-in escapism.
Godzilla Raids Again is available on DVD.
by Steve Habrat
Hot off the success of his iconic 1954 monster movie Creature from the Black Lagoon and it’s middle-of-the-road sequel Revenge of the Creature, director Jack Arnold then turned to the wildly popular science fiction subgenre of giant creature features. It may surprise you that Arnold’s 1955 arachnid outing Tarantula is one of the best creature features that may ever have the pleasure of creep across your television. Boasting special effects that would stomp some CGI effects of today, unusually strong character development for a B-movie of this breed, a unexpectedly human plot, and some truly frightening images that will have anyone who suffers from arachnophobia hyperventilating, Tarantula is a smart and surprisingly consistent creature feature that is must-see viewing for anyone who claims to be a fan of 50s science fiction efforts. To make things more fascinating, Arnold and screenwriters Robert M. Fresco and Martin Berkeley decide to turn their backs on the atom bomb willies of the Eisenhower era and instead focus on well-meaning science spinning wildly out of control. It is a nice change of pace and it allows Tarantula to stand out from the scores of giant bugs that were prowling the American countryside in the wake of the bomb. Get ready for your skin to crawl because it surely will while you take this puppy in.
Tarantula begins with the horribly deformed research scientist Eric Jacobs (played by Eddie Parker) wandering out into the Arizona desert and dropping dead. After local authorities find his body, a doctor by the name of Dr. Matt Hastings (played by John Agar) is called in to examine the disfigured corpse. Matt is baffled by the appearance of the corpse, but Matt believes that Jacobs may have been suffering from acromegaly. Matt also discovers that Jacobs was actually a colleague of Professor Gerald Deemer (played by Leo G. Carroll), a scientist that has locked himself away in a secluded mansion in the desert and has been working on creating a food nutrient that could feed the world’s rapidly growing population. It turns out that Deemer has been testing the nutrient on a variety of animals including a tarantula, which is ten times its normal size. While engulfed in his work, another colleague, Paul Lund (played also by Eddie Parker), who is suffering from the same disfigurement as Jacobs suddenly attacks Deemer. As the two men fight, they accidentally unleash the tarantula that wanders out into the desert. To make things worse, Lund injects Deemer with the nutrient, which rapidly begins to disfigure him too. As Deemer races to find a cure with his beautiful new assistant, Dr. Stephanie “Steve” Clayton (played by Mara Corday), Matt and Sheriff Jack Andrews (played by Nestor Paiva) are called to investigate bizarre skeletal remains that have been found at a local ranch. It doesn’t take long for Matt, Steve, and Sheriff Andrews to figure out that there is a giant tarantula prowling the desert.
Unlike most of the throwaway B-movies of this era, Tarantula takes its good old time crawling up to the action. For a while, you may even start to think that this movie isn’t even really about a giant tarantula attacking and destroying a small American town, but a scientist suffering from horrific mutations. Arnold spends quite a bit of time getting to know the characters, all of which are likeable enough even if they are a bunch of walking 50s clichés. When the giant abomination of science wanders out of the lab and starts creeping around the desert, Arnold generates some seriously effective suspense. He teases us with the beast’s massive legs appearing over jagged rock formations and he sends shivers as the spider’s silhouette slowly prowls the hills behind characters. There is even a wicked moment with the spider descending upon Professor Deemer’s mansion and then watching the oblivious Steve as she gets ready for bed. We only see the spider’s eyes through her window and then, in the blink of an eye, the mutant arachnid begins tearing the mansion to shreds. Arnold pulls back on the action to reveal an impressive outside shot of the spider’s silhouette reducing the mansion to splinters as Steve runs to Matt’s open arms. Tarantula’s suspense and action sequences really are top of the line for a low-budget 1955 effort.
Even though the characters are a bit clichéd and familiar for the 1950s, they are still played by the actors and actresses who are totally committed to their roles. Agar is the typical all-American hero who woos the girl and saves her from the clicking fangs of death. The poster hilariously advertised Agar holding a machine gun and firing it at the tarantula but there is never a moment like that in the film. Carroll’s Deemer is a tragic figure that is slowly succumbing to madness in his desperation to find a cure for himself. After a while, he starts to resemble the Hunchback of Notre Dame mixed with the Frankenstein monster, which is certainly a nightmarish combination. Corday is your typical damsel in distress, a pretty face who shrieks in terror when she comes face to face with the towering tarantula, however, her character is given a layer of intelligence, which is certainly a smart move on Arnold and the screenwriter’s part. Paiva is appropriately skeptical and spooked as Sherriff Andrews, who has to scramble his police force to fight back against the unstoppable monster. Film buffs should also keep their eyes peeled for a brief cameo by a very young Clint Eastwood, who shows up as a jet fighter pilot during the fiery climax of the film.
Perhaps the biggest flaw to be found in Tarantula is the rushed climax that features the tarantula barreling towards a small Arizona town. As the spider makes its way forward, jet fighters drop rockets and canisters of napalm down on the savage beast, all while the town’s citizens cheer on in support. It looks awesome but it seems cut short with “The End” plastered on the screen before we even have time to catch our breath. Mind you, there is plenty to marvel at during the final showdown, the neatest moment coming in a subtle tribute to Godzilla, which is up to you to find, but you are left wanting a bit more closure from the characters. Overall, even if it may not be dealing directly with radiation and nuclear weapons, Tarantula still cleverly captures a nation’s fears of science going horribly wrong. It may be B-movie material, but it is far from the construction paper and rubber mask approach that many of these films received. It is apparent that the filmmakers really took their time and created something they could be proud of. Tarantula is a true creature feature classic that will thrill and chill for many years to come.
Tarantula is available on DVD.
by Steve Habrat
We have arrived at our final classic Universal Movie Monster and we end this series with a true legend. The Creature from the Black Lagoon moves away from the supernatural flavor that was favored by Universal Studios and embraced a scientific fear that was popular after World War II. He may not emerge from a coffin at night and he may not be a walking corpse but Gill-man is certainly a monster that will continue to haunt our dreams for years. Without further ado, here is the final installment in Anti-Film School’s Universal Movie Monster series. Read on if you dare…
The Creature from the Black Lagoon (1954)
Of all the classic monsters in the Universal horror line, one of the most iconic is Gill-man, the underwater terror from Jack Arnold’s classic horror adventure The Creature from the Black Lagoon. Made in 1954 and originally released in 3D, The Creature from the Black Lagoon was Universal’s attempt at trying to remain in the horror loop. After World War II, the genre had moved away from the supernatural beasts like Dracula, Frankenstein’s Monster, the Wolf-Man, and the Mummy and embraced more of a fear of science, atomic age mutants, and extraterrestrials. Born out of the movement, The Creature from the Black Lagoon is one of the finest creature features from the golden age of drive-in spectacle, an A-list horror movie that steps out of B-movie assembly line. With a timeless creature that refuses to show his age and a rollicking adventure with plenty of brains to spare, The Creature from the Black Lagoon is a film that you just can’t pull yourself away from. And then there is Gill-man himself, a sympathetic specimen who was simply minding his own business when the men in the safari hats dropped in on his beloved lagoon and began desecrating it. In my humble opinion, he remains one of the most sympathetic of all the classic monsters that made their way out of Universal Studios.
After a geology expedition in the Amazon uncovers the skeletal remains of a link between land and sea creatures, a team of scientists is quickly put together and sent into the thick jungle to examine the remains. The team consists of leader Dr. Carl Maia (Played by Antonio Moreno), ichthyologist Dr. David Reed (Played by Richard Carlson), financial backer Dr. Mark Williams (Played by Richard Denning), Kay Lawrence (Played by Julia Adams), and grizzled captain Lucas (Played by Nestor Paiva). Once they arrive in the jungle, the team that originally made the discovery is discovered dead near the remains. As the new team tries to figure out the cause of the death, they come face to face with Gill-man (Played by Ricou Browning and Ben Chapman), an amphibious creature that is extremely territorial. Having made the discovery of a lifetime, the group grapples with how to capture the Gill-man but the creature plans on putting up a hell of a fight. But after Gill-man lays eyes on Kay and falls in love with her, he begins plotting a way to abduct her from the group.
Featuring a number of jaw-dropping underwater sequences, The Creature from the Black Lagoon becomes a must see for these scenes, which I’m sure just astonish in 3D. The most beautiful of the scenes is when Kay decides to take a dip in the lagoon, only to be stalked by Gill-man, who swims just underneath her. When your eyes aren’t glued to Kay’s iconic bathing suit, you will marvel at the precise choreography of the scene, especially how Gill-man manages to mirror all of Kay’s movements. While the scene may make you swoon, there are plenty of suspenseful moments in that murky water that will have you holding your breath. David and Mark relentlessly hunt the poor Gill-man, who hides among the rocks and seaweed that cakes the bottom of the eerie lagoon. These scenes are given a shock from a hair-raising blast of horns that announce the Gill-man when we catch a brief glimpse of him. Arnold also allows his camera to take a plunge when the scientists use various methods to try to drug Gill-man. The camera lingers underwater as an array of chemicals trail down to the bottom of the lagoon, our monster hidden among the rocks and staring up in horror. It is scenes like this that make us feel for the slimy guy.
Then there are the colorful performances from the cast, who all do a bang up job with the characters they are given. Carlson’s David is the typical all-American hero who questions whether they are doing the right thing by capturing the Gill-man. His confliction makes him easily the most likable character next to Kay. While she is mostly asked to scream when she sees the Gill-man, Kay still is a stunner in that white one piece. In a way, it is tragic the way she fears the creature as he just has misunderstood feelings for Kay and no way to confess those feelings. The most monstrous of the human characters is Denning’s Williams, who is so desperate to capture the creature that it borders on obsessive. He is constantly at odds with David and he usually is the one who resorts to violence to solve their differences. Then there is Gill-man himself, who remains largely unseen for part of the movie. Still packing a mean visual punch, the Gill-man’s desperation to stay in his swamp and rid it of these human terrors is what ultimately tugs at your heartstrings. For a while, he just stays submerged and watches, reading the actions of these intruders. The creature does pop more underwater (when underwater, he is played by Browning and when on land, he is played by Chapman) as he glides around David and Mark. On land, he shuffles like the Frankenstein Monster, emitting guttural growls that sound vaguely like demonic pigs. He can truly be a frightening force, especially to those who have never been exposed to him.
There are points in The Creature from the Black Lagoon where the film ceases to be a great horror movie and becomes a great adventure into the unknown with plenty of action that will be enjoyed for many more years to come. It introduces us to a creature that will continue to grab our imagination and haunt our dreams. Over the years, many audiences and even critics (!) have been calling for a remake of the movie and there have even been rumors that Universal has been considering giving Gill-man a face lift. I sincerely hope that doesn’t happen and that the studio leaves the film alone. I fear that they will resort to senseless bloodletting, a CGI makeover for the green guy, and a slew of disposable pretty faces that can barely act their way out of a paper bag let alone the Black Lagoon. No, Jack Arnold’s film is perfect as is, one that still can pack a mean spook and white knuckle action scene with the best of them.
Revenge of the Creature (1955)
Apparently having survived the events of The Creature from the Black Lagoon, the Gill-man (Played by Ricou Browning and Tom Hennesy) is once again preyed upon by nosy scientists eager to study him. This time, animal psychologist Clete Ferguson (Played by John Agar) and ichthyology student Helen Dobson (Played by Lori Nelson) capture him and have him transported to the Ocean Harbor Oceanarium in Florida. Soon, the Gill-man falls in love with Helen and he begins trying to escape from his tank. Naturally, he manages to free himself and he sets out to find his true love, killing anyone who gets in his way.
Lazily made and devoid of any suspense or atmosphere, Revenge of the Creature is a massive step down from the original Creature from the Black Lagoon, which happened to be one of the finest films in the Universal library. Originally released in 3D, it is fun to see the Gill-man terrorizing swarming masses of innocent civilians but yanking him out of his legendary lagoon may not have been the smartest idea out there. I found myself longing for the confrontations in the Black Lagoon and almost bored with the tedious scenes of Clete and Helen trying to communicate with the angry creature. Gill-man certainly does win our sympathy, maybe even more here than he did in the original film. The first time around, we saw his beautiful swamp desecrated by careless humans but this time, he is chained and forced to sit still as curious citizens swarm to his tank to point and gasp. Poor guy! No wonder he is angry when he breaks out of those chains.
The acting of Revenge of the Creature is certainly nothing to write home about, although do make sure you keep your eyes peeled for a cameo from a young Clint Eastwood. As the story plays out before us, it is easy to assume that the film is going nowhere fast. We are subjected to one bloated conversation after another as the Gill-man bobs around in the background. Director Jack Arnold seems to realize this and he frantically tries to make up for it in the final twenty minutes of the film with an extended chase. Basically, all he does is hit the lights and let the Gill-man wander the dark as police try desperately to prevent him from escaping with Helen in his slimy arms. Trust me, you’ve seen this sequence before in countless other Universal monster films. Overall, there was plenty of potential here but the lack of enthusiasm with the material hurts the final product. It’s obvious this was made simply to make money for the studio and it is a shame because Gill-man deserves better than what he gets. This film drowns right before our very eyes. Someone grab the life preserver! Grade: C
The Creature Walks Among Us (1956)
Somehow surviving the hail of gunfire at the end of Revenge of the Creature, the Gill-man (Played by Ricou Browning and Don Megowan) is once again hunted down by a team of scientists led by the deranged Dr. William Barton (Played by Jeff Marrow). After a lengthy search, the Gill-man is discovered and captured in the Everglades. During the capture, the Gill-man is seriously wounded, which forces the scientists to race to save his life. He undergoes a procedure that radically alters his appearance and has him using his lungs to breathe rather than his gills.
An even bigger dud than Revenge of the Creature, The Creature Walks Among Us finds the franchise sinking fast under a bizarre premise that has Gill-man evolving into a towering human being with vaguely human features. The beginning of the film finds some of that effective atmosphere from the first film creeping in but things go south quick when the film sails out of the swamp and arrives at a sprawling mansion compound where the Gill-man is forced to live behind an electric fence. Riddled with plot holes, The Creature Walks Among Us finds the human beings acting more monstrous than the Gill-man, who once again nabs our sympathy in his electric prison. Tour guide Jed Grant (Played by Gregg Palmer) lusts after William’s wife, Marcia (Played by Leigh Snowden), and he makes a very half-assed attempt to hide it. William relentlessly accuses poor Marcia of seducing every man she comes across, something completely untrue. The savage bickering and arguing finally ends with one of the men killing the other and then trying to blame it on the Gill-man.
Clunky and bogged down by a slew of rotten humans doing terrible things to each other, The Creature Walks Among Us is a messy and overwhelmingly bleak conclusion to the Creature franchise. What hurts the worst is seeing Gill-man edged off the A-list of horror icons and relegated to B-squad of atomic age abominations with very little intellectual purpose. Halfway through the film, Gill-man is stripped of his original trim appearance and morphed into a hulking brute in a Halloween mask that just stands around and stares at everyone. While it can be argued that there are minor traces of what once was here and there, the film wouldn’t scare even the jumpiest horror fan. Overall, I wish I could say it wraps everything up in a satisfying manner, but there is no muggy or buggy inspiration or creativity on the filmmaker’s part. I’m afraid that the Black Lagoon is all dried up. Grade: D+
The Creature from the Black Lagoon is available on Blu-ray and DVD. Revenge of the Creature, and The Creature Walks Among Us are available on DVD.
by Steve Habrat
I really wish that more people out there were familiar with Universal Studio’s atomic age science-fiction film This Island Earth. It may not be the best science-fiction film from the 50’s but it sure is a cool and minor drive-in classic. Served with a heaping glob of cheese, This Island Earth overcomes its unintentionally hilarious moments with some seriously crisp color, icky monsters, and an egghead script that science-fiction fanatics will happily gobble up. A cult classic in its own right, you may be familiar with the grotesque aliens that inhabit this picture, as you will often see them included in collages of the other more famous Universal Studios monsters (Dracula, Frankenstein’s Monster, The Bride of Frankenstein, The Creature from the Black Lagoon, and The Wolf-Man). This Island Earth also found itself released on June 1st, 1955, proving that even before the rise of the summer blockbuster in the late 70’s, there were still spectacles released to entertain kids who were on summer vacation. This Island Earth, however, does prove to be a smart spectacle.
This Island Earth introduces us to Dr. Cal Meacham (Played by Rex Reason), a well-known scientist who receives instructions and parts to build a mysterious device called an interocitor. Along with his colleague, Joe Wilson (Played by Robert Nichols), the duo puts the interocitor together and suddenly receives a video transmission from a man who calls himself Exeter (Played by Jeff Morrow). Exeter tells Cal that building the interocitor was all a test and that he wants Cal to join him in special research project. Cal reluctantly accepts and is soon ushered off to a secluded research facility in a remote area of Georgia. Cal is reunited with an old love interest, Ruth Adams (Played by Faith Domergue), and together they begin to snoop around the facility, suspicious that they are not being told truth. After trying to escape, Cal and Ruth are abducted by a UFO and taken off to the war-torn planet of Metaluna. It is on Metaluna that Cal and Ruth learn why Exeter recruited them to work for him and after meeting the sinister head of the planet, they have to quickly devise a way to get back to earth.
This Island Earth is one of the rare science fiction films that doesn’t have the human race portrayed as the inferior beings. The alien race within the film wants to work directly with us and is in need of uranium deposits to aid Metaluna in their fight against the relentless Zagons, who attack with planetoids that are guided by spaceships. Heavy with nuclear willies and brimming with mentions of UFO sightings up in the clouds, This Island Earth is certainly and shamelessly a product of the Cold War. The film applies paranoia at its core, our protagonists convinced that they are not being told everything they need to know, suspiciously peaking around every corner they come to. When Cal boards an unmanned airplane, Joe begins pleading with Cal to not make the journey to Georgia, exclaiming that something stinks about the entire operation. With its use of color, the film is able to slip into pulp territory, resembling something that would have been printed on the pages of an EC Comic. The color also alleviates some of the heavier subtexts, allowing moments of This Island Earth to feel more like hot-weather escapism rather than chilling mushroom cloud reflection.
This Island Earth ends up being a slower moving film, one that takes its good old time getting to the staggering world of Metaluna. Director Joseph M. Newman uses the slower moments to allow us to get to know our protagonists and also send us into confusion over the character of Exeter. Cal quickly is established as the All-American guy, a brainy and thoughtful hero right up to the last frame. At first, Ruth sidesteps being the usual damsel in distress and she dashes right alongside Cal as they flee from destructive lasers being shot at them. Sadly, once Cal and Ruth are abducted and whisked off to Metaluna, she crumbles into a hysterical heap, one that cries out at incoming planetoids and shrieks in horror as one of the monstrous Mutants stalks her around a spaceship. Exeter is a guy who we can’t fully classify up until the very end of the film. At times, he seems villainous but he will the quickly say that his alien race is a peaceful group. My one complaint is that Cal and Ruth at first overlook Exeter’s bizarre physical appearance. His forehead is quite unlike a regular forehead—something that you would assume would jump out at the two scientists.
There are moments of This Island Earth where the atmosphere is so tense, it could be cut with a laser beam. Just check out the scene where Cal, Ruth, and Exeter arrive on Metaluna, an eerie place with explosions that look suspiciously like nuclear blasts in the background. It becomes mushroom cloud after mushroom cloud as our heroes dodge attacks by the lumbering Mutants, who swipe their claws after the terrified humans. It’s a shame that This Island Earth has been waved off by many science-fiction/horror gurus (The film was featured in Mystery Science Theater 3000, forever ruing its reputation.), as there is plenty to appreciate in this science fiction extravaganza, both visually and intellectually. The films trippy final half-hour more than makes up for the droning and uneventful first half. Yet director Newman keeps the humanity that is shrewdly established in tact and it never becomes a cynical vision of nuclear destruction. It never looses faith in the human race and it proudly stands by the fact that we are capable of making the right decisions when it comes down to it. Overall, if you have the patience and you enjoy this sort of thing, open your windows, allow the summer evening air to creep in, fix yourself a big buttery bowl of popcorn, grab an extra large soda, find a date, and loose yourself in the world of This Island Earth. There are plenty of thrills, chills, and sights to behold in this slightly flawed Cold War drive-in classic. Make it a double feature with another Cold War science fiction classic!
This Island Earth is available on DVD.